Pinhole cameras carry great variances with movement. Whether it is the camera moving or the world around the camera, only certain aspects will be picked up. It all depends on two things: the length of exposure time and the amount of movement that accrues before the photo is finished being exposed.Tina Rowe’s photographs are a wonderful example of movement in pinhole photography. She began focusing on this aspect with a long exposure of a restaurant in Paris (photo right). “A 45 minute shot I had taken in a busy restaurant in Paris. Although people were blurred, they still stayed in their own little pools in the final image, the blurring increased the colour palette and I am pretty sure that there was some colour shift on the film from the long exposure.” This photo is where her path to experimentation with movement began. As Tina’s experimentation grew, she found a love of movement on transportation. It started with a train ride on a rickety train in Brazil (photo left), when she took a couple of photos and came away “impressed with the way the long exposure, coupled with the movement, made the colours mix and accentuate each other while the length of the exposure meant that I ended up with an average of the forms being captured.” She had stumbled on something now – an abstraction that brought more detail of emotion than physical form.
The camera movement captures a bustling feeling. Tina brought home these lessons of energy and movement. During some forays into the heart of London, she applied her technique to the city buses, making exposures of 5 to 10 minutes as the buses rambled through town. With these handheld photos, She’s produced photographs that recreate the movement of both the bus and it’s rider. Her photographs are designed to take you on an unfamiliar ride in the seat of a bus.From Bus, ©Tina Rowe 2015
Balls Pond, ©Tina Rowe 2015
Middle Bus, ©Tina Rowe 2015
38, ©Tina Rowe 2015
Bus Back, ©Tina Rowe 2015